Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Eritrea and from Houston.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1967 to 1970.
I'm losing my edge.
To all the kids in Lille and Manila.
I'm losing my edge to the art-school London kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1984 at the first Arcadia practice in a loft in London.
I was working on the synthesizer sounds with much patience.
I was there when Donald Fagen started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Lakeside to the disco kids.
I played it at the Hacienda.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Dr. Dre and Snoop Doggy Dog. All the underground hits.
All London Community Gospel Choir tracks. I heard you have a vinyl of every Art Ensemble Of Chicago record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Index record.
I hear that you and your band have sold your guitar and bought a snare.
I hear that you and your band have sold your snare and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Visage,
The Barracudas,
Scan 7,
Peter and Kerry,
Roy Ayers,
Ituana,
Adolescents,
Kas Product,
Ten City,
Notorious Big And Bone Thugs,
Amon Düül II,
Chrome,
Pharoah Sanders,
Camberwell Now,
Jacob Miller,
Terrestrial Tones,
Blancmange,
The United States of America,
Joyce Sims,
Radiopuhelimet,
Talk Talk,
Bobby Womack,
The Remains,
Infiniti,
Cheater Slicks,
The Modern Lovers,
Warsaw,
Traffic Nightmare,
Charles Mingus,
The Victims,
Second Layer,
Rhythm & Sound,
The Doors,
Banda Bassotti,
Connie Case,
The Divine Comedy,
Gil Scott-Heron and Jamie xx,
Scott Walker,
Lonnie Liston Smith,
Q65,
Tim Buckley,
A Certain Ratio,
Kango’s Stein Massive,
Lou Christie,
Yellowson,
The Chocolate Watch Band,
Selector Dub Narcotic,
Underground Resistance,
Fluxion,
Drexciya,
June Days,
Inner City,
Marine Girls,
Qualms,
Lalo Schifrin,
Sexual Harrassment,
Lou Reed & John Cale,
Nick Fraelich,
cv313,
Brothers Johnson,
The Count Five,
Scion,
Aswad,
Accadde A, Accadde A, Accadde A, Accadde A.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.